RF: I am a curious, hardworking designer known for my ability to combine aesthetics and functionality in an elegant way. My design style is characterized by a strong connection to nature’s forms and materials, with a focus on sustainability and long-lasting solutions. My work balances simplicity and refinement, with each design telling a story of harmony between tradition and modernity.

Icons: Can you tell us a bit about your background and influences?

RF: I graduated as an industrial designer in 2000 from the School of Architecture in Aarhus, and just a few years later, in 2004, I established my own studio — now over two decades strong. My passion for design, particularly in how materials shape our environment, traces back to my childhood. Growing up, I spent countless hours helping my parents build the houses we lived in. That hands-on experience, working with different materials and seeing ideas come to life, deeply influenced my appreciation for craftsmanship, form, and function. It’s those early memories that sparked my lifelong curiosity for how thoughtful design can transform spaces and enrich lives.

Icons: The 3 words ‘minimal’, ‘magical’ and ‘mindful’ are the core of your studio manifesto. What is the meaning behind each word and how do they impact your work?

RF: At my studio, the words ‘minimal,’ ‘magical,’ and ‘mindful’ guide every step of our process — from ideation to materialization, to storytelling and launch. These principles are my foundation for creating meaningful, responsible products that I can proudly justify bringing into the world.

‘Minimal’ represents my commitment to optimizing materials, resources, and production methods, ensuring that every element is utilized in the best possible way. It’s about reducing excess while maintaining purpose and beauty.

‘Magical’ is about adding moments of surprise and delight — those tactile experiences, hidden details, and thoughtful functions that invite users to pause, explore, and reflect. I believe in creating designs that encourage a deeper connection with the objects we interact with daily.

Lastly, ‘Mindful’ speaks to the care I take in considering the human experience and the environment. It’s about reflecting on how we behave, how we use materials, and how our choices impact the world around us. It’s a conscious effort to design with integrity and a sense of responsibility.

Each of these words intertwines with the other, shaping how we approach design in a way that’s thoughtful, engaging, and purposeful.

Icons: You have designed Fichu, our new chair family. Can you tell us a bit about the collaborative process with Icons of Denmark when developing Fichu?

When I first met Jesper and Sandra from IOD I fell in love with their passion, engagement and urge to progress. It has been a pleasure to work with IOD because they so strongly believed in the design from day 1, and we all worked hard to reach the best possible version of the design.

Icons: The Fichu chair is created specifically for the workplace, how did that influence the design?

RF: First and foremost, I wanted to create an inviting and embracing chair that makes its users feel welcome. That’s why the backrest has a curved, rounded shape. It gives the chair its unique character while offering comfort and a sense of openness, encouraging people to sit and feel at ease.

Icons: What challenges did you meet when designing Fichu, and how did you overcome them?

RF: One of the main challenges was the seamless use of different materials. This can be tricky to achieve, but through close collaboration with the production, we managed to ensure everything fits together perfectly.

Icons: We are talking a lot about how the modern workplace needs to be flexible and adaptable – how does the Fichu chair fit into this?

RF: I designed the Fichu chair with flexibility in mind. It’s lightweight and easy to move, allowing its users to quickly adapt the space to different needs, whether it’s a meeting, a waiting area, or a dining setup. The chair’s timeless design ensures it will remain relevant for years, while its parts can be easily repaired or reupholstered. The durable frame is built to last, ensuring longevity and sustainability.

Icons: What makes Fichu Minimal, Magical and Mindful?

RF: The Fichu chair balances character with minimalism, offering a clean, understated aesthetic. The magical element comes in the thoughtful details, such as the multifunctional back frame. This metal frame doubles as a handle and a convenient spot to hang your jacket or scarf. It’s designed to be durable, making the chair both practical and long-lasting. The mindful aspect is reflected in its easy disassembly, making it environmentally friendly, while its welcoming design provides comfort to anyone who uses it.

Icons: Do you have any advice you would like to pass on to new and aspiring designers?

RF: Ask a lot of ‘why’ questions!

The post Designer Interview: Rikke Frost appeared first on Icons of Denmark.

PB: I have learnt the skills of upholstery and sofa design from when I was very young, being surrounded by my family members who were in the trade. It influences me in the sense that I have learned how important it is to be close to the source of manufacturing, always taking a hands on approach to development and design to make sure that the product is of the utmost quality.

My father was an upholstery manufacturer so I have learnt intimately the processes and possibilities of the upholstery trade so this greatly influences how I design a product. I always aim to have the upholstery as a significant part of the design, as opposed to the afterthought, so it becomes a feature. Many people forget that the design of the upholstery in a sofa is what makes it comfortable, not the other way around.

Icons: The sofas you have designed with Icons have features included specifically for the workplace. What do you find is the biggest challenge when designing for the contract market?

PB: For me the biggest challenge is designing a product that can be durable but still aesthetically pleasing. There are many products in the contract furniture market that are purely functional, however many people do not find inspiration in these products. I always aim to design sofas that are a combination of function, aesthetics, and inspiration – and I believe this combination is always seen throughout the most successful Danish designs!

Another challenge is also to forget everything I know about domestic products and incorporate additional features into the sofas. Aspects such as making sure that the seat isn’t too low or soft, or that we can integrate power without compromising the design. These are all qualities that you don’t necessarily have to think about when designing for the home.

Icons: The EC1 and Bank Sofas are based on modular, reconfigurability. Why is this important to you when developing products?

PB: Being a workplace specific products, it is important to me that the sofas are not only timeless in design but timeless in concept. I want them to be able to be used in different ways and in different environments so that the business who specify the products can keep using them for years to come.

For me reconfigurability is also about sustainability – because the easier it is to repurpose or reconfigure, the more likely it is for the product to stay in use for longer. This is then complimented by the high quality materials that I use in the construction – solid FSC wood, 40-60 kg density foam that doesn’t lose its shape over time and durable fabrics and leathers as standard.

Designing products that are also modular are incredibly easy for architects and designers to use within their projects. When you offer a standard set of components, it removes the need for anything too bespoke, which in turn provides simple solutions for Icons’ clients.

Icons: Where do you find inspiration for your work?

PB: My inspiration mainly comes from the German Bauhaus school, the Danish Design movement and those architectural traditions. The common aspect in these movements is that the designs are clean and use a simple form language. All additional decorations and adornments are cut away, leaving only a refined, elegant form.

When it comes to working on designs, it’s quite hard to describe my process of inspiration. It’s partly something I imagine; allowing the materials and colours; shapes and trends to flow around your head, and then try and get it all down onto paper… Sometimes the concept comes to you on a single day, and sometimes you may have to work on it for several years!

The post Designer Interview: Peter Barreth appeared first on Icons of Denmark.